in Europe ask the same prices. Nay, amateurs who do best in their ignorance, ask still higher prices. Wherein, therefore, do we find that which frightens the purchasers? The effrontery of writers who make such statements as the above will bring them no honor.

Many may still remember that I had determined to send six violins of different forms, copies of the best old master-violins, to the Vienna Exhibition, and intended myself to take the matter in hand, but, owing to an accident, I was compelled to give up this intention. In consequence, I resolved to send only one violin. To select one of them, artists such as Wollenhaupt, Dr. Damrosch, Carl Feinninger and others were consulted, but they differed in their opinions, which may be taken as a proof that the instruments were very much alike in character; they are also witnesses of the fact that I made them. In order to call attention to the one selected, I noted the price "ten thousand dollars!" Nobody, however, was charged to dispose of it, although three thousand dollars were offered.

The circumstances connected with the construction of this violin gives it more than an ordinary interest. Ridicule and praise in the highest degree are interwoven with its history; therefore, it has been hitherto the most interesting new violin in this century. Why I could not be its representative and had to leave it to fate can be learned from what I have already written about it, and how I have judged every thing connected with it. I was, however, sure of one fact, namely, that it would be acknowledged as a production of art. The admission must then be made, and the claim is amply justified by facts, that, as new violins are frequently mistaken for genuine Italian instruments, even when most particular attention is given to the varnish, the art of violin making must no longer be considered as a lost one.

May the foregoing satisfy all doubters and those who have lately, especially in America, written about the lost art of varnish and tone, and may it cause them in future to refrain from investigating into the so called lost arts. He who would give a scientific explanation of this art and be a critic, must be thoroughly acquainted with it.

A TREATISE UPON THE MANNER IN WHICH MASTER-VIOLINS ARE RUINED.

The manner in which violins are so often ruined seems almost beyond comprehension, or rather the way they are generally treated must necessarily involve their ruin. The cause of this can not be entirely ascribed to those destroyers of violins who pretend to be repairers, but it generally rests with the owners of violins themselves, because they are usually ignorant as to who is master of the art of violin making and to whom a master violin may be entrusted. They therefore make inquiries for such experts, and apply for that purpose, generally, to renowned violin players, not realizing that even these are not always endowed with discrimination, frequently not more so than the one asking advice, and thus the latter is led astray.

To find an adept repairer is as difficult as to find a thorough master of the art of making violins; for the repairer must possess the same knowledge of the production of tone as the best violin maker. The man who cannot make excellent violins cannot be an excellent repairer. To obviate all doubts on the subject, I will state that the foundation of the whole secret is simply this "Every violin maker will make repairs in accordance with his knowledge, as he would make violins, and violins as he would make repairs!" This principle is so scientifically correct as to be conceded even by the most severe critics.

Many a man achieves a reputation by certain meritorious accomplishments in which he has distinguished himself, and in consequence thereof everyone believes him an artist in the fullest meaning of the word. For instance, Ludwig Bausch, of Leipsig, gained a deserved and world wide celebrity as an artist in making bows. I also esteemed him as an excellent and very accurate worker. But to my astonishment I found, as I regret to say, that his fine repairs were mostly devoid of value, as also were his new violins, so far as the production of tone was concerned. But artists and amateurs, far and near, adored his useless repairs and new violins, which latter usually sold for high prices.

Thus the public are unable to form a proper judgment in regard to the art. It would pain many a one, if they could realize the manner in which valuable violins are treated by such violin makers and repairers. Repairing violins, therefore, is as little understood as violins themselves, in consequence of which not only the interior of many an Italian instrument is ruined, but also the exterior is often deprived of its classical appearance by an alcoholic varnish, which is smeared over it and which impairs its value; and yet many owners of such instruments, who do not know any better, rejoice to see their violins with such a glossy surface.

To rehabilitate a valuable instrument, and repair the exterior if necessary, requires a skill as artistic as the rehabilitation of a painting by a celebrated painter. Such instruments are also often peculiarly tortured by unskilled hands, and many a valuable top has been damaged by the operation of putting, or rather forcing, in the sounding post.

Owners of violins should take particular precaution never to permit the cutting away of wood out of the bottom or top of a violin, without being fully satisfied that the repairer is an adept in the art. In Italian violins made by the old celebrated masters there is no necessity at all for doing this, as they have not as a rule any too much wood, and most of them are poor enough in this respect; in case those artists made no mistakes others have brought them in by their repairs.

OF THE CAUSES WHY THE JUDGING OF VIOLINS AND THE REPAIRING OF THEM IS LESS UNDERSTOOD THAN OTHER ART PRODUCTIONS.

Beautiful and interesting as is this art of making and repairing violins, and however great has been my enthusiastic devotion to it, I should never have engaged in it had I in starting possessed my present experience, for the ignorance which the public has shown by the confusion of opinions in this branch might almost make one believe these judgments emanated from a mad-house.

Why is it we hear no such conflicting opinions about the productions of any other branch of industry or art? Because in no other business do we find so many pretenders. And why is it they infest this particular branch of business more than any other? Simply because the art of violin making is not founded on a correct system, and this may account for the medley of ideas which have been spread broadcast throughout the musical countries, except France, where a regular system is recognized.

Yet in spite of the lack of correct system of making violins, I have become acquainted with a few German musicians who have acquired an excellent schooling in the art. In this respect I cannot refrain from mentioning my admiration for a thoroughly skilled musician, Mr. Herman Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of music, who was able to define clearly and accurately the different periods of the progress I made in violin making.

Such a man I must respect the more, because he is endowed with sound judgment, which other musicians, often of very high standing, could only acquire by instruction, a method which to some of them would seem to be impossible, as they are devoid of judgment, having their ability warped by false ideas